is a 2020 arthouse drama film directed by Ilya Khrzhanovskiy and Jekaterina Oertel, serving as one of the most structurally unique installments of the megalomaniacal, multi-platform DAU cinematic universe. While much of the overarching DAU project focuses heavily on totalitarian cruelty, bureaucratic decay, and oppressive machismo, DAU. Katya Tanya stands out as a rare, intimate exploration of female subjectivity, personal isolation, and forbidden queer romance within the confines of a simulated Soviet police state.
As we reflect on the story of Katya and Tanya, we are reminded of the complex and dynamic nature of human psychology, the power of social interaction, and the resilience of the human spirit. Their experiences serve as a poignant reminder of the importance of responsible research practices, informed consent, and the need for ongoing discussions about the ethics of scientific inquiry. DAU. Katya Tanya
boyd, d. m., & Ellison, N. B. (2007). Social network sites: Definition, history, and scholarship. Journal of Computer-Mediated Communication, 13(1), 210-230. is a 2020 arthouse drama film directed by
DAU. Katya Tanya (2020) is a divisive, 103-minute entry in Ilya Khrzhanovskiy's massive and controversial DAU project . Unlike the more brutal and visceral installments like Natasha , this film leans toward a melancholic, psychological melodrama focused on lesbian romance and female subjectivity under Soviet totalitarianism. As we reflect on the story of Katya
★★★★☆ (4/5 - Masterful but excruciating) Streaming: Available on the DAU Cinema platform (Mubi previously held rights, check local listings). Similar films: Requiem for a Dream (psychological collapse), Jeanne Dielman, 23 Commerce Quay (domestic dread), The Piano Teacher (eroticized suffering).
What truly sets DAU. Katya Tanya apart, however, is its unflinching commitment to authenticity. The film's attention to historical detail is meticulous, transporting viewers to a bygone era with remarkable accuracy. At times, the experience feels almost documentary-like, with the static camera work and natural lighting adding to the sense of realism.
The story follows (Ekaterina Yuspina), a young librarian at the Institute whose idealistic views on love are repeatedly crushed by cynical reality and failed affairs with men. She eventually finds genuine tenderness and connection with Tanya (Tatyana Polozhiy), a journalist colleague. Their fragile happiness is ultimately dismantled by the State Security department, which deems their relationship "inappropriate" for a Soviet woman. Critical Perspectives